Instruments and Effects
Table Of Contents
- Logic Studio Instruments and Effects
- Contents
- Introduction to the Logic Studio Plugins
- Amp Modeling
- Delay
- Distortion
- Dynamics
- EQ
- Filter
- Imaging
- Metering
- Modulation
- Pitch
- Reverb
- Convolution Reverb: Space Designer
- Specialized
- Utility
- EVOC 20 PolySynth
- EFM1
- ES E
- ES M
- ES P
- ES1
- ES2
- The ES2 Parameters
- Tutorials
- Sound Workshop
- Sound Design From Scratch, Filter Settings, Digiwaves
- Three Detuned Sawtooth Oscillators and Unison Mode
- Extremely Detuned Monophonic Analog Sounds, Effects
- Clean Bass Settings With One Oscillator Only
- Distorted Analog Basses
- FM Intensity and Frequency
- Controlling FM Intensity by an Envelope and FM Scaling
- FM With Drive and Filter-FM
- FM With Digiwaves
- FM With Wavetables
- Distorted FM in Monophonic Unison
- FM With Unusual Spectra
- Slow and Fast Pulse Width Modulations With Oscillator 2
- Pulse Width Modulation With Two Oscillators, PWM Strings
- Ring Modulation
- Oscillator Synchronization
- First Steps in Vector Synthesis
- Vector Synthesis—XY Pad
- Vector Synthesis Loops
- Bass Drum With Self-Oscillating Filter and Vector Envelope
- Percussive Synthesizers and Basses With Two Filter Decay Phases
- Templates for the ES2
- Sound Workshop
- EVB3
- EVD6
- EVP88
- EXS24 mkII
- Learning About Sampler Instruments
- Loading Sampler Instruments
- Working With Sampler Instrument Settings
- Managing Sampler Instruments
- Searching for Sampler Instruments
- Importing Sampler Instruments
- Parameters Window
- The Instrument Editor
- Setting Sampler Preferences
- Configuring Virtual Memory
- Using the VSL Performance Tool
- External Instrument
- Klopfgeist
- Sculpture
- The Synthesis Core of Sculpture
- Sculpture’s Parameters
- Programming: Quick Start Guide
- Programming: In Depth
- Ultrabeat
- GarageBand Instruments
- Synthesizer Basics
- Glossary
- Index
342 Chapter 22 EVB3
The reverb is always patched after the EQ, wah wah and distortion effects, but before
the rotor effect. This means that the reverb always sounds as if it is played back
through the rotor speaker. To hear the reverb after the rotor, switch off the organ’s
reverb, and use an aux send to apply reverb to the instrument channel.
Wah
The name Wah Wah comes from the sound it produces. It has been a popular effect
with electric guitarists since the days of Jimi Hendrix. The pedal controls the cutoff
frequency of a bandpass, lowpass, or—less commonly—highpass filter. The wah wah
pedal has also been used extensively with the Hammond organ.
MIDI Pedal Control
For the most dynamic and musical performance of the wah wah effect, attach an
Expression Pedal to your MIDI master keyboard. Your master keyboard should transmit
MIDI control change #11 (Expression real-time volume), if you attach an Expression
Pedal to the Expression jack and move it. This would normally be used to control the
volume while playing.
If you program an EVB3 setting, set the Expression parameter to 0, and then define a
wah wah effect (with controller 11 controlling the wah wah’s cutoff frequency), you can
control the wah wah with the pedal—without having to program anything on the
master keyboard.
Read more on this in the “MIDI Setup” on page 324. You should also consult the users
manual of your keyboard.
Wah Wah Control With Other MIDI-Controllers or Aftertouch
You can use any MIDI control change message to control the wah wah effect. You can
select any controller number and Channel Aftertouch (Touch) in the CC field.
Mode
Mode allows you to enable/disable the wah wah effect. If you select Mode off, the
effect is disabled. There are six different filter types available:
 ResoLP (Resonating Lowpass Filter): In this mode, the wah wah will work as a
resonance-capable lowpass filter. At the minimum pedal position, only low
frequencies can pass.
 ResoHP (Resonating Highpass Filter): In this mode, the wah wah will work as a
resonance-capable highpass filter. At the maximum pedal position, only high
frequencies can pass.